Stylistic Analysis of Space in Indian Folk Painting
The paper aims at identifying the design principles of Indian folk painting by analyzing some paintings of master painters from Srikalahasti, Madhubani, and Raghurajpur. The authors further discuss the different initiatives to reinterpret the effectivenes
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Abstract The paper aims at identifying the design principles of Indian folk painting by analyzing some paintings of master painters from Srikalahasti, Madhubani, and Raghurajpur. The authors further discuss the different initiatives to reinterpret the effectiveness of storytelling through graphic visuals among mass. The age-old chitrakatha tradition of narrative paintings with oration, as an intrinsic part of Hindu folk religion has played a significant role in the proliferation of the doctrines of Hindu epics and moral stories. The space division aims at an optimum clarity for impelling communication. The dimensions are often mandatory rather than arbitrary. Yet, often esthetic overpowers the theme. The authors as evaluators adopt the method of three folded analytical study of semiotic, iconic and thematic aspects. The tradition of narrative folk paintings although has emerged and grew in remote and isolated locations but is not confined to the temples and rituals anymore because of cross cultural exchanges. They are rich as artistic expression and potent enough to amalgamate and evolve with time. The paper, therefore briefly opines on the significance of folk art practice in the changing society.
Keywords Critical analysis Design principles Contextualization Innovation
Visual communication
S. T. Roy (&) Department of Humanities and Social Sciences, Indian Institute of Technology Kanpur, Kanpur, India e-mail: [email protected] A. K. Das Department of Design, Indian Institute of Technology Guwahati, Guwahati, India e-mail: [email protected]
A. Chakrabarti and R. V. Prakash (eds.), ICoRD’13, Lecture Notes in Mechanical Engineering, DOI: 10.1007/978-81-322-1050-4_102, Ó Springer India 2013
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S. T. Roy and A. K. Das
1 Introduction The definition of folk art can be free flowing and ever changing as per the dynamism of its phenomena. The authors here make an attempt to indoctrinate the design principle of folk art in the Indian context. Folk art practice in India in spite of being vernacular and varicolored, shares a lot of commonality in them. The ageold traditions of narrative scroll paintings of regional India as well as the art practices intrinsically connected with the temple rituals have always played a vital role in the proliferation of Hindu epics and moral stories. Vatsyayan in her book titled ‘‘The Squire and the Circle of the Indian Arts’’ [1] writes, ‘All ritual first establishes a point, a metaphorical center, around which lines are drawn to make triangles, squires and circles of great symbolic value. Notions of space and time are comprehended through it’ (p. 163). The principle of folk art in spite of being rudimentary and down to earth also follows a somewhat similar concept of space organization.
2 Style and Narrative The study involves a scrutiny of five such examples from the traditional folk paintings of India. They belong to five different states of India, namely Rajasthan, Bihar, Bengal, Odisha and Andhra Pradesh. It is to realize how the artworks hold similarity in th
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